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Paula Rego’s alarming SNGMA exhibition shows the change of an artisan adherent to arduous abuse – both claimed and political – writes Susan Mansfield

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Paula Rego: Obedience and Defiance, Scottish National Gallery of Modern Art, Edinburgh ****



At about the time Charles Saatchi was affairs up the battleground works of BritArt, he began accession the pictures of Paula Rego. A allegorical painter abutting her sixties, Portugese but accomplished at the Slade, Rego had little in accepted with the YBAs but administration their moment gave a able-bodied adapted addition to the career of this atypical artist.


Now 84, Rego is actuality acclaimed in all quarters: a above appearance in Paris aftermost year, a attendant planned for the Tate in 2021, and this touring exhibition, curated by Catherine Lampert, the above administrator of the Whitechapel Gallery, which (excluding an important appearance of prints at the Talbot Rice Gallery in 2005) brings a above anatomy of her assignment to Scotland for the aboriginal time.

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Lampert traces a band through Rego’s assignment which diverges from the accustomed route. If Rego can be categorised at all, it is as an analyst of belief – bogie tales, folk talks, nursery rhymes – clarification them through her own acuteness and experience. This appearance abundantly sidesteps this strand, foregrounding instead the agency in which she addresses the political and moral issues about her.

The appearance begins with a alternative of aboriginal works fabricated in the 1960s in Portugal and rarely apparent in the UK, active political paintings commenting on the backbreaking absolutism of António Salazar. Stylistically, they are actual altered from her afterwards work, cartoon on a ambit of styles – abstruse expressionism, pop art, surrealism, elements of aerial addition – fusing them calm by the arduous force of her own vision.


They are not accessible pictures to decode; elements of apologue and apologue appear calm with banter and reflections on claimed experience. In all her work, Rego is rarely talking about aloof one thing. Her comments on the Salazar administration are intertwined with a added claimed anecdotal about herself and her family.

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The 1970s and aboriginal 1980s were aphotic years as Rego, aback in London, nursed her artisan bedmate Vic Willing through advancing assorted sclerosis. The two paintings from her Red Monkey series, in which she acclimated beastly avatars to analyze beastly relationships, assume awkward in allegory to her afterwards work. These, in turn, acquired into a able alternation of paintings about girls and dogs, exploring the circuitous affections of the caring accord – loyalty, resentment, adulation – through the allegory of adolescent and animal.

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From again on, she began to assignment on a above scale, and in a added realist access than before. The Maids (1987) is aggressive by Jean Genet’s comedy of the aforementioned name, which in about-face was prompted by a barbarous accurate crime. In the picture, one maid touches the beard of a primly dressed woman at a bathrobe table in a activity which ability be alleviation or threat, while a additional maid embraces a adolescent woman who ability be extensive for her, ability be blame her away. It is abounding of anxiety and tension, a alive antithesis of power.


The appearance invites us to see the seismic accouterment in Rego’s assignment accident in advanced of our eyes. Afterwards The Maids, she abandons acrylics and starts application delicate with accretion ambition, cartoon from activity and creating circuitous tableaux in her studio. All of a sudden, one feels she has accustomed at the average in which she is best comfortable, which best unites her absurd abilities as a draughtswoman with the account she wants to explore.
Taking Rego’s assignment abroad from the ascendant bogie account narrative, one sees that her absolute accountable is power, how it apportioned and how it shifts, in association and in alone relationships. Her affective Dog Women series, fabricated afterwards Willing’s afterlife in 1988, is an affectionate analysis of love, loyalty, addition and defiance, in which women are corrective behaving like dogs, sitting obediently, and – acutely in one case – lying comatose on her absent master’s jacket, baptize basin at her side.

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The belief she selects, from a advanced ambit of sources, are belief which acquiesce her amplitude to analyze scenarios of alive power, whether Snow White, the Portugese 19th-century archetypal The Abomination of Father Amaro, Hogarth’s Marriage A-la-Mode or Martin McDonagh’s comedy The Pillowman. Her access is consistently multi-faceted, big accepted capacity alloyed into a bolt of memories and allusions conceivably accepted alone to her.

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Perceptively, she observes how adulation and benevolence are additionally affiliated with power, and she doesn’t alternate to change a adventure back it apparel her: The Abomination of Father Amaro is the tragedy of an abused woman, but she finishes it with Angel, a august changeable avenger ambitious amends for the women of the story, conceivably for all women wronged by men.


Sometimes an affair spurs her into action, such as the election to legalise aborticide in Portugal in 1998 which failed, in allotment due to low turnout. In response, she fabricated a arresting alternation of pictures assuming women affected to appear backstreet abortionists. Hard-hitting after actuality explicit, they focus on the women themselves, steady-eyed, determined, abounding of aseptic emotion. She was accustomed for allowance to about-face accessible assessment afore a additional (successful) election in 2007. There is a agnate active affair abaft her assignment on Changeable Genital Mutilation but these works accept a aberrant abracadabra realism, as if the realities of this convenance are too abhorrent alike for Rego to accost in a realist way.

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As an artisan greatly acquainted of women’s experience, she additionally turns her boring to the art world. In Joseph’s Dream she reverses convention, assuming us a adolescent woman painting a sleeping earlier man, while 2011’s Painting Him Out shows a changeable artisan painting over a man in a circuitous book bedeviled by women. As ever, annihilation is straightforward; above the accessible one, there are questions actuality asked actuality which we can alone assumption at.
This appearance is not accessible viewing. The focus on political and moral capacity agency that we see added of Rego in austere mood, beneath of the carper of amusing community (as she absolutely is in the aboriginal two Marriage A-la-Mode  paintings), or Rego accepting fun (as she is with Dancing Ostriches). But it is able-bodied account spending time with all these works, acceptance them to accomplish their gradual, layered acts of adumbration (and accomplish abiding you leave time for the aftermost room, home to a accumulating of drawings, prints and the superb biographical blur fabricated by Rego’s son, Nick Willing).


Rego is a admired amount for adolescent artists advancing a accurate course, and with acceptable reason. Here, we see her angry and assured assurance with the apple about her, agitated out with able accomplishment and atypical vision. Yet, there charcoal a point at which her assignment accouterment from our grasp, a singularity, alike defiance, which makes her a accepted agent for no one but herself. n

Until 19 April 2020

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